It makes sense doesn’t it? Word of mouth doesn’t travel without a personal network of supporters, however small. For some reason, there is a misconception that free money just rolls in when a crowdfunding initiative is launched, despite the fact that there are many, many case studies available online (for FREE) from people who ran successful campaigns and report that it was very difficult work. Widening the audience is one benefit of a campaign, but you have to start from somewhere in order to widen out.

In a short clip I did with Film Courage, I talk about why crowdfunding may not be for everyone and the limitations one will encounter if not very active online.

An aspect of a crowdfunding campaign that isn’t as apparent as money, is building up a sizable contact list of engaged supporters. I can’t tell you how crucial this is not just to the one project, but to ALL of your future as a filmmaker. Developing and maintaining a database of personal contact details is invaluable because they have given permission (and expressed an interest in) for future communication from you. This list should be guarded with your life and not relinquished to any third party! It shows the trust people have put in your talent and in you as a person, a trust difficult to gain that can easily be destroyed. This list should never been taken lightly or sold/given away for short term gain (besides, it goes against CAN SPAM Act regulations unless each recipient has been given clear and conspicuous notice that his or her e-mail address will be shared with third parties for marketing purposes. Who would agree to that?).

While there are certainly companies and individuals asking to be hired to crowdfund for artists, I think skipping over the crucial step of putting in the personal work it takes to gain trust is missing by employing this tactic exclusively. Social media channels are truly a gift and an opportunity we have been given to get closer to our audience, to have a deeper and more personal connection through our work. It breeds loyalty, instead of disposability. Also, the ability to know that our work touches people and matters to people can keep you going when it seems the world is full of rejection or self doubt. Gathering a team to help is advisable (in all aspects of filmmaking), but allowing only the team (or worse, an uninvolved 3rd party) to have contact with your supporters is a mistake.

It is time that artists come to terms with the fact that the age of the bubble (where creation takes place only in private) has come to an end. The audience wants to feel close to the art and its creator. This isn’t new really, fan clubs have existed for decades, but now that closeness comes in Tweets, Facebook posts, blog posts, podcasts, videos, Pinterest boards etc. and the ability to have a dialog directly. Make an effort personally to reach out to your audience, even get to know them by name, and you will see that effort come back to you in artistically, financially and personally beneficial ways.